"Please Like" This Fantastic Show

"Please Like Me" is the best show that you've never heard of, so you probably haven't been watching it. Please change that! This charming Australian import (which airs on Pivot in the U.S.) just finished its third season, and it perfectly captures what few American series are able to: an honest, nuanced, and -- most importantly -- realistic coming-of-adulthood portrait.

Don't let the sitcom length detract you; the show is funny and frank without exaggerated antics but also serious and heartfelt without maudlin self-importance. There are no "very special episodes" that betray the natural growth of its flawed but well-meaning characters. The way they think, talk, and act, even when they're clearly making a mistake, is unapologetically human and relatable. Every episode is finely crafted to make you feel like part of this personal journey, even if it's only for 25 minutes at a time.

With a fourth season still in its earliest planning stages, you have plenty of time to catch up... or at least oblige the polite request of the title.

A Musical "Story" Better Left Untold

"A Christmas Story" is a revered modern classic, but turning it into a musical loses a lot of its magic -- especially when the adaptation runs nearly an hour longer than its source. The memorable narration and dialogue are mostly intact, but the largely forgettable musical numbers only work when they're extensions of little Ralphie's vivid imagination.

Amusing touches involving live dogs and leg-lamp choreography are worthy chuckles, but the show makes a cardinal mistake in its treatment of Ralphie's parents, depicting Dad as a buffoon and Mom as a doormat. The film was smart enough to make them a study in contrasts: a gruff father whose acquisition of that famous lamp made his obsessive descent that much funnier, and a soft-spoken mother who was actually the voice of reason and laid down the law to hold the family together. While you can't reasonably expect a carbon copy of the movie, at least you can hope for something that knows when to say when.

And To All, A Good Night

"A Very Murray Christmas" is the best of both worlds, reinventing as well as paying homage to the bygone era of holiday variety specials. Bill Murray (playing himself) is disappointed when a blizzard shuts down New York, canceling his live Christmas show from the famous Carlyle Hotel. To battle his holiday blues, Murray decides that the show must go on, enlisting friends and strangers alike at the hotel to help celebrate the spirit of the season.

A flurry of celebrity cameos follows, including a surprisingly restrained and soulful performance from erstwhile troublemaker Miley Cyrus. The music is a refreshing blend of yuletide standards as well as unique covers that don't scream Christmas but still fit the wintry mood. Is this salvaged production all in Bill's mind? Does it matter? Just let his trademark quirky charm work its magic and wish you a heartfelt "Murray Christmas."

The Sound And The "Fury" Of Spoofs

Originally released this summer but new to Netflix, "Kung Fury" is a welcome blast to and from the past. This short, action-packed parody has more '80s-centric details than you can fit into a DeLorean.

Deliberate VHS image quality and over-the-top, arcade-style effects? Check. Melodramatic dialogue and period-specific choices, right down to the fonts and title screens? Check. The authentic original soundtrack (with a contribution from David Hasselhoff, no less) literally sounds like it was sent to us from the past. Possibly the best 30 minutes you'll see this year!

New TV Shows Try To Make The Grade

Have you met the freshman class of the 2015-16 TV season? As we approach the halfway point of their first year on the air, think of the following reviews as these shows' mid-term report cards. Who's going to the head of the class and who's going to need extra credit? Keep reading for the verdict so far! There may or may not be a quiz later... ;)

"Scream Queens" (Fox)
Subject: Sociology
Premise: The friends and foes of a popular sorority are targeted by a masked serial killer who is connected to a secret from the school's past.
Episodes: 9 [out of 13 scheduled]
Evaluation: The latest offering from "Glee" and "American Horror Story" creator Ryan Murphy splits the difference between those two disparate genres. Never entirely funny or scary, this biting send-up of college horror tropes works better when it brazenly defies expectations than when it rehashes the same cliches it tries so earnestly to subvert. There's some truly inspired slang and dialogue that miraculously slips past the network censors, while a brilliantly-cast Jamie Lee Curtis (as the ambitious dean) steals the show from its talented ensemble. The opening credits alone are worth a watch. However, it remains to be seen whether this anthology-in-the-making has enough guts to survive until its next installment.
Grade: B-

"Quantico" (ABC)
Subject: Current Events
Premise: A dedicated FBI recruit pieces together the events that transpired between her training at the academy and a New York City bombing for which she is being framed.
Episodes: 8 [out of 22 scheduled]
Evaluation: A diverse and well-rounded cast -- combined with fast-paced storytelling and an unflinching look at the roots and effects of terrorism -- rank this series among the better fall debuts. Don't be fooled by the pretty young recruits; they've done an outstanding job of portraying the complexities of suspicious human nature. What sets "Quantico" above its soapy counterparts is its willingness to make the characters (and the audience) question the people and the world around them. Sure, there's enough relationship drama and inner turmoil to fuel a lesser show, but every interaction from a glance to a tryst makes you second-guess who's manipulating who. At the rate it's going, the show is a puzzle that will demand repeat viewings to see how its intricate pieces fall into place.
Grade: A-

"The Muppets" (ABC)
Subject: Arts & Crafts
Premise: All the puppets you know and love are back in a workplace mockumentary set in and around Miss Piggy's late-night talk show.
Episodes: 8 [out of 16 scheduled]
Evaluation: The trademark humor and heart of the characters are in full effect... even if the voice acting doesn't quite match the high standards of its original run. It's also a blast to see how their personalities fit (or don't) at work and in relationships -- a more developed concept than their variety show origins and movie adventures. The first season was always intended to have a shorter run (likely due to the technical demands of all the puppetry), but worrisome reports have surfaced that the show will be retooled mid-season amid creative differences between its producers. If it's not broke, don't fix it -- especially at the risk of ruining a bright spot in an otherwise dull sitcom line-up.
Grade: B


"Supergirl" (CBS)
Subject: Physics
Premise: Superman's cousin Kara uses her powers to help National City while trying to avoid comparisons to and reliance on the Man of Steel.
Episodes: 5 [out of 13 scheduled; full-season order is pending]
Evaluation: It's not a bird or a plane, and it's not living up to its potential. Good news: the show has a strong feminist spine, and starting with Kara as an adult prevents drawing parallels to the last Super-related, coming-of-age saga ("Smallville"). Bad news: the show can't decide what it wants to be. Is it a dramedy about purpose or a sci-fi procedural? It's hard to take it seriously when the tone is so uneven. The villain-of-the-week angle is already tired, and the special effects could use some help as well. At least the cast is capable and appealing -- particularly Calista Flockhart's deliciously driven Cat Grant (this show's answer to Perry White) -- but it'll take a lot more than good intentions to keep this one in the air.
Grade: C+

What Would Janet Do?

Whatever happened to the girl who assumed control of her life and her career? The one who united all of us as one nation under rhythm and who taught us how love goes? After a lengthy hiatus, it's official: Janet Jackson is back.

As a longtime fan, I'm confident enough to concede that Jackson's last great album from start to finish was 1997's deep confessional jam "The Velvet Rope." Her last good album was 2001's free-spirited and eclectic "All For You," and her last above-average album was 2004's post-Super Bowl mea culpa "Damita Jo." Since then, 2006's "20 Y.O." and 2008's "Discipline" both had a few standout cuts, but after the artistic triumph of "Velvet," the ratio of foundation-to-filler on each subsequent album has gradually reversed. Critics are eager to point to her infamous halftime show as the tipping point between "good Janet" and "bad Janet," but that is hardly accurate or fair. Jackson's musical output of late was perhaps hardest-hit by shifting trends in the recording industry.

While Jackson has always owned her sexuality and rightfully empowered others to do the same, it started (intentionally or not) taking center stage in her lyrics. Her music became less about saying something meaningful and more about copying what others were already saying -- alas, not without awkwardness. Consider her 2008 single "Feedback": there is actually a lyric that says, "My swag is serious/Heavy like a first-day period." Such a declaration is beyond ridiculous to type out let alone sing aloud, but perhaps most offensive is that it's so far beneath her usual manner of coy, come-hither lines that used to entice body AND brain. While we don't have to regress all the way back to the innocence of classics like "Let's Wait Awhile" and "Come Back To Me," at least that initial longing matured nicely into sultry hits like "You Want This" and "I Get Lonely" before derailing into that land of TMI somewhere along the way.

Adding to a recipe that was approaching disaster was her (and everyone else's) increased use of processed vocals. As if we needed any reminders that Janet is from a famous music family, more than a few tracks went as far as making her sound a little too much like Michael for anyone's liking. Even worse was the inclusion of obligatory rap segments from guest artists, which are fine as long as they add a new layer or unique dimension to the song. Many of these attempts featured bigger names like Kanye West, Khia, and Nelly, but they failed to mesh with Jackson's genre-hopping and also pulled focus away from her -- simply because a lot of the popular singles at the time were using that formula. For a moment or two, such phoned-in methods may have caused her pop-royalty crown to slip. A recent analysis in "Flavorwire" brilliantly summarized how Jackson's late-'80s/early-'90s heyday involved her setting the trends instead of following them. While my own take on her recent efforts suggests that she's guilty of the latter, allow me to make a case for her exoneration.

As her first album in seven years, "Unbreakable" is simultaneously Jackson's return to form and a mission statement about her legacy as a pop icon. Clearly, the downtime has been good for her to refresh and focus. Right away, it's difficult not to be struck by the regal, majestic air of the cover art, which is a welcome thematic statement when compared to the scantily-clad (a.k.a. been-there, done-that) nature of her previous four albums' artwork. There's a good mix of styles represented among the album's 17 songs: the gentle inspiration of the title track, the trip-hop tinge of "Damn Baby," and even the classic-rock flourishes of "Well Traveled." In her grand tradition of releasing albums with higher track counts (often increased by a handful of spoken word interludes), Jackson more than gives us our money's worth with 16 new songs and only one interlude -- in contrast with today's average album length of 10 to 12 songs.

Unlike her more scattered collections, everything on "Unbreakable" adheres to its central messages of strength, resilience, and progress -- even when it's telling you the best thing you can do for yourself is let down your guard and have a little fun. "Burnitup," her dynamite collaboration with fellow R&B superstar Missy Elliott, is the most uptempo of these songs to capture that positive spirit. Though Elliott and the album's other contributor J. Cole could be classified under my earlier claim of obligatory guest-spots, they succeed in finding a more natural fit within their respective songs and the overall vibe of the album. More than anything, I'm just glad to hear Jackson's voice again. Her own voice, not distorted or auto-tuned on every track, is actually allowed to breathe and flourish. As light as her vocals can be, she does sound more confident -- especially given the industry's current make-or-break demand for vocal prowess that separates the wheat of Adele and Gaga from the chaff of countless imitators-in-waiting.

"Unbreakable" succeeds in large part because its strings are invisible. Yes, it has a lot in common with Jackson's mid-career highlights, but it's not trying too hard or forcing itself to achieve those same degrees of relevance. Instead, the album simply exists as a record of what this absence from the spotlight has taught her and allows the listener to sit back and experience its wisdom. Songs like the lilting "Shoulda Known Better" may seem too straightforward or even lackluster on the surface, but it comes down to what they mean to Jackson and why she chose to record and include them. It's worth mentioning that this is Janet's first album since Michael's passing, and the lessons from that loss echo through the album's several contemplative ballads. Ultimately, "Unbreakable" is a powerful tool to reconnect with her fans and explore her inner self in a truly transparent way. Jackson is one of the few remaining pop stars who has resisted manufacturing her image. Cultural descendants like Beyonce and Rihanna don't always delve as deeply into discussions about race, gender, sexuality, politics, or personal identity through their own music. However, they will be forever indebted to Jackson's uncanny ability to take even the most controversial topics and make them both palatable and danceable at the same time.

Jackson herself has admitted that part of her time away was spent evaluating the future of her career and her role in the music industry. As far as I'm concerned, she will always have a place in pop culture... as long as she continues to play her cards right and responsibly wields her ongoing influence.

Returning TV Shows Flex Their Staying Power

Like any relationship, the ones that we have with our favorite (or former favorite) TV shows can be complicated. Some of them are great and have no drama whatsoever beyond what we expect on the screen. Some of them we begrudgingly continue to watch -- no matter how ridiculous they get -- because we keep thinking they'll improve and/or finally reveal the big payoff that's been promised since they started. And, of course, some of them we finally convince ourselves to stop watching cold-turkey and never look back, regardless of how many friends keep insisting, "It's getting good again, I promise!"

Many of my own preferred TV shows are several seasons into their run, so lately I've been taking an honest look at how I'm spending my viewing time. Who's still got the mojo and who's heading for a Hulu break-up? My incredibly scientific scale weighs how long each series has been on the air against their pros and cons before assigning their staying power on a scale from 1 to 5... 1 being "I won't be surprised if this is your last season" and 5 being "I won't be offended if lots of people want to see you." Trust me: it's for our own good!

"South Park" (Comedy Central)
Premise: Four young boys see the world through the lens of their quirky, misguided small town.
Seasons: 19
Pros: The show will never run out of fresh material thanks to society's unlimited supply of satirical targets.
Cons: Hardly any, though inconsistent network standards censor certain episodes but not others, dampening the brilliance of the show's message and impact.
Staying Power = 5

"The Big Bang Theory" (CBS)
Premise: Four highly intelligent, science-oriented friends have a lot to learn about life and love.
Seasons: 9
Pros: The show is still a destination for elaborately constructed, highbrow dialogue and great guest stars from the realms of classic comedy and nerd culture.
Cons: Character development has been sacrificed for the sake of preserving running jokes that stopped being funny years ago. Let these guys grow up already... even if it's just a little bit!
Staying Power = 2.5

"Modern Family" (ABC)
Premise: A fake documentary chronicles the well-meaning misadventures of an extended family.
Seasons: 7
Pros: A formidably funny ensemble cast and the rarity of its nuanced, blink-and-you'll-miss-it non-verbal humor keep the laughs coming long past their prime.
Cons: Young actors will inevitably get older, but in this case, their increased screen presence and still-developing talent slows down the whip-smart pace of this otherwise solid farce.
Staying Power = 3

"Scandal" (ABC)
Premise: A high-profile D.C. fixer (and former White House staffer) juggles the demands of her firm with the lingering secrets of the current administration.
Seasons: 5
Pros: Much like its network companion "How To Get Away With Murder," this is a show with a diverse cast that isn't afraid to tackle current events and social issues, all without being preachy. Creator Shonda Rhimes is merciless (in the best possible way) with plot twists and cliffhangers.
Cons: While it has rebounded nicely from the soapier, melodramatic antics and underused main characters that weakened previous seasons, the temptation to place too much focus on the central love triangle could cause the show to fizzle out before its time.
Staying Power = 4.5

"Once Upon A Time" (ABC)
Premise: A curse brings all of the famous storybook characters into the real world.
Seasons: 5
Pros: Increasingly few, but memorable performances can still be found in the dual roles of Regina/The Evil Queen (Lana Parrilla) and Mr. Gold/Rumpelstiltskin (Robert Carlyle).
Cons: The show used to subvert fairy-tale characters and situations to clever effect; now it seems to merely shove together as many unrelated characters as possible and force a connection among them. Not to mention that its once-promising non-linear narrative has fractured itself into too many timelines and settings for even an experienced viewer to keep track.
Staying Power = 1

"Homeland" (Showtime)
Premise: A bipolar CIA agent solves international cases while trying to hide her condition.
Seasons: 5
Pros: The show remains a phenomenal acting showcase for leads Claire Danes and Mandy Patinkin. Despite uneven storytelling, the shifts of power in their mentoring relationship are still compelling to watch.
Cons: Since the finale of its third season, which tied up the majority of its original plotlines, the show has essentially rebooted itself twice for its fourth and now its (current) fifth season -- losing touch with its initial sources of dramatic tension along the way.
Staying Power = 2

"Supernatural" (The CW)
Premise: Two brothers travel cross-country to battle the forces of darkness.
Seasons: 11
Pros: The long-running series winks at itself through self-aware, meta moments like the book-series-within-the-show about the show's events and its acknowledgement of the various segments of its own fan base and genre.
Cons: There will always be "new" monsters, but the show's core mythology of good vs. evil/angels vs. demons/heaven vs. hell has nearly exhausted itself. Only one credible story thread -- the identity and whereabouts of God, who is often referenced but never seen -- remains unexplored.
Staying Power = 1.5

"The Good Wife" (CBS)
Premise: The wife of a disgraced politician finds success and identity on her own terms.
Seasons: 7
Pros: This is one of the finest dramas on television, with fully-formed characters and truly realistic performances across the board. The juxtaposition of the title character's personal and professional life is a master-class in how to write, develop, and sustain subplots between episodes and entire seasons.
Cons: The departure of two beloved main characters in the last two years has taken its toll (both personally and dramatically), leaving fans to question how the show's endgame will eventually play out.
Staying Power = 4

"If" There's A Better Musical, "Then" I Haven't Seen It

Stop me if you've heard this one before: a career-minded young woman makes a split-second, seemingly innocuous decision that ends up creating two very divergent possibilities for her future. If you're thinking about the 1998 Gwyneth Paltrow film "Sliding Doors," you're on the right track... but I'm actually describing the 2014 Idina Menzel musical "If/Then," which launched its national tour in Denver last month.

On the surface, it's easy to see the parallels between the two. You could swap the setting of London and making or missing the subway in "Sliding Doors" with New York and deciding which circle of friends to spend the day with in "If/Then." However, it's a disservice to both of these works to characterize them based solely on the similarities of their premise. While the former offers whimsy and romantic comedy, the latter is deeply rooted in emotional honesty -- something missing from many of today's big Broadway productions. "If/Then" is everything that a stage show should be and the best of both worlds: the joy and bombast of a musical with the resonance and maturity of a play. The show doesn't shy away from controversial, hot-button elements like homosexuality and abortion, yet it doesn't treat them with tokenism; they are ingrained aspects of the story rather than gimmicks to grab attention. "If/Then" isn't afraid to ask the big questions about life's volleys between fate and coincidence, but it satisfyingly settles for not having all of the answers.

Part of why I'm so impressed with this particular show is that its creators' previous stage project, "Next To Normal," was a highly lauded affair that never sat well with me. Despite multiple Tony award wins and even a Pulitzer Prize, I never felt its acclaim was worthy of the uneven production that was presented. Yes, the show was groundbreaking in its depiction of the main character's bipolar disorder -- such heavy subject matter isn't traditionally fodder for a Broadway musical -- but to me, the show itself was atonal, discordant, and unsettling. It's what would happen if someone took a promising art-house film and shoehorned a bunch of unremarkable, rock-inflected songs into it.

"If/Then," meanwhile, is the polar (pun intended?) opposite of its predecessor. The show has a palpable energy and spirit; it's not just going through the motions of a pretty but empty production. Its goal is to impact the lives of its audience members, even in the smallest ways, through story and song. Even more notable is how difficult it can be to find a truly original production these days that isn't a revival or a direct adaptation from another medium. The music propels the story forward courtesy of its forthright, unfiltered lyrics, while the book sounds like how people actually talk (profanity and all) without being too stagy. Perhaps most importantly, "If/Then" avoids the missteps of several modern shows by rebuking the pandering trend of jukebox musicals, which often fall into the trap of being little more than greatest-hits albums with dialogue. It manages to succeed on its own merits rather than accumulating the bulk of its running time from someone else's material.

In a rare move that prevents "If/Then" from becoming anyone else's too quickly, Denver's launch of the show's tour featured all of its original leads. Naturally, the major draw is Menzel -- after all, the show was written specifically for her. It's hard to imagine anyone other than her in the role of Elizabeth since the script and the songs are so tailored to the mannerisms of both her speaking voice and her singing voice. As the plots separate, she goes by Liz in one storyline and Beth in the other (a helpful device to keep the audience on-track during some of the quicker scene-changes). However, it's not just the Liz & Beth show. She is joined by three other established Broadway stars -- James Snyder, Anthony Rapp (of "Rent" fame), and LaChanze, a Tony-winner for "The Color Purple" -- as her love interest, an old friend, and a new friend, respectively. All four of these dynamic performers have created incredibly well-rounded characters who don't always say or do what you think they will. The momentum is further driven by sharp dialogue full of realistic observations (ex. "We both know love doesn't make us perfect. It just makes us want to be.") and an ingenious level of pacing that seamlessly transitions back and forth between the storylines.

Through Elizabeth's career path as a city planner, New York itself becomes a character as well. The parallels between building space and building a new life are cleverly interwoven without ever being heavy-handed or ham-fisted. For a musical with such big ambitions and production values, "If/Then" feels unusually small and focused -- a tremendous compliment given that the show's message remains intact despite everything else that transpires on the stage. Ironically, none of these songs could really stand on their own or hold up as breakaway hits like certain Broadway standards have done over the years. Because all of the songs tell important parts of a larger story, it seems counterproductive to expect them to succeed independently from the show. Case in point: when Menzel performed at Red Rocks this summer, she sang "Always Starting Over," her big solo number from the second act of "If/Then." As well as she did with the song in a concert setting, there was something infinitely more enriching about seeing what led up to that moment in the show as well as what followed, rather than seeing it out of context.

Make no mistake: all of the songs in "If/Then" are beautifully arranged and are impeccably rendered by each of the actors. From the humorous and insightful "What The Fuck?" to the spiraling, dialectic tension of the push-pull "I Hate You" (which perfectly encapsulates the warring emotions of a couple facing a turning point), the show hits the bullseye on all of its comedic and dramatic targets. Menzel is often defined by her larger-than-life voice, but there are so many intimate, poignant moments here that allow her to shine. She knows that it takes more than just sounding good; the audience has to feel what you're singing about. My eyes welled up with tears as she slowly spun a single lyric (no spoilers!) into the past tense, instantly breaking hearts and causing gasps and sniffles across the stunned audience. She along with her fellow cast members went for every beat with gusto without ever overdoing it or overpowering the critical moments. Rapp in particular has come a long way from his plaintively emo days in "Rent" and turned in a rich vocal effort from start to finish. Needless to say, I haven't been this deeply affected by a musical in a LONG time! If you can't attend one of its performances in New York or while it continues to tour, you owe it to yourself to at least listen to the original cast recording as a viable substitute.

Though the award recognition -- Tony and Drama Desk nominations for the score and for Menzel but no wins -- was disproportionate to the show's caliber, "If/Then" can take solace in the immeasurable way that it touches its viewers. No amount of awards can replace that kind of genuine connection. The show's recurring themes and metaphors about navigating the unknown and the unexpected in life reinforce the lasting surprise that such significance can still be realized on today's increasingly busy stage.

Lana Del Rey Invites Us On Her "Honeymoon"

Lana Del Rey is not from around here. And yes, that's a very good thing.

Del Rey (a.k.a. Elizabeth Woolridge Grant) looks, sings, and carries herself like she's from another time and place -- probably the 1960s or '70s, probably somewhere in Southern California. She's not afraid to sulk, swear, and be sexy, and her beautifully orchestrated anachronisms make the postmodern contrasts of her music that much more powerful.

One could look at Del Rey's albums as phases of a relationship, either with another person or with her music itself. 2012's "Born To Die," along with its follow-up EP "Paradise" from later that same year, are the wild, unpredictable period of discovery when you fervently hope that you're not facing a one-trick pony. 2014's "Ultraviolence" is the more serious, deliberate acquainting that gradually occurs as you realize that this is, in fact, the real deal.

"Honeymoon," released in September, could signify one of two interpretations. The honeymoon phase could be happening, and you're basking in the glow of contentment, or the honeymoon could be over and you're facing a lifetime with these qualities, for better or for worse. Not inclined to settle for one answer, Del Rey offers music that could go either way, often within the same song. One thing's for sure, though: you had better be committed to listening or you'll miss out on an unparalleled journey.

As soon as the cover art, before the first notes of the album are even played, Del Rey evokes that far-off place and time -- an oasis amid the turbulence of today's music industry. The opening (and title) track utilizes effects that sound so genuinely retro (vocal layering, swooning melodies) that it could very well break the space-time continuum. Much of the album mirrors the wondrous, introspective heights of Kate Bush: a comparison that I don't make freely or easily, so it serves as one of my highest possible compliments to Del Rey's level of artistry. On "Honeymoon," she accomplishes more vocally and lyrically than musically. If you're looking for the Lana who has given us the eclectic caliber of past songs like the kinetic flow of "Off To The Races" and the lo-fi cadence of "West Coast," you may be reluctant to embrace another side of her. Still, the album remains thought-provoking and appropriately moody.

"Terrence Loves You" is an unusual choice for a radio single, but it soars as a contemplative ballad ideally suited for this autumnal season of change. The chill in the air is doubled by the chill of her isolation. Meanwhile, the more pop-friendly single "High By The Beach" is equal parts class and sass. The track is the perfect kiss-off; honestly, who among us has never wanted to tell someone, "You could be a bad motherfucker, but that don't make you a man"? Del Rey nails the explicit sentiment without ever feeling gimmicky -- or worse, appealing to the lowest-common denominator.

"Honeymoon" does briefly threaten to float away during some of its languid middle tracks; it's almost as if Del Rey has deliberately constructed music that forces you to listen beyond its surface and rewards you for absorbing the spot-on lyrics. Thankfully, the album finishes strong with tracks like "Salvatore," simmering and sizzling with an international flair that expands her already diverse musical palate, and "The Blackest Day," quintessential Del Rey that flirts with variable notions of yearning without succumbing to desperation.

Del Rey closes the album with a cover of Nina Simone's classic "Don't Let Me Be Misunderstood," which is pretty gutsy for anyone to attempt given its legendary status and Simone's incomparable spirit. Del Rey is smart to not try imitating Simone's style, instead choosing to find and interpret new feeling and meaning in the ache of the lyrics. The true sign of a good cover is its ability to respect the original while still bringing something new to the table, and Del Rey succeeds in spades.

For someone of her age (only 30 years old) and with relatively short career experience, Del Rey is in full possession of the distinctive, soulful longing of her voice -- even taking further ownership of her craft by writing or co-writing all of her material. She achieves what few artists today understand: how to fully embody the process from start to finish. Some of that may be artifice for the sake of staying on-brand; after all, her interviews and her concert interactions with fans show a different kind of sweetness and incredulity at all the fame and attention. Even her soundtrack songs from "The Great Gatsby," "Maleficent," and "Big Eyes," which in the hands of other artists could have been empty contributions, positively embolden those films. She knows how to find the truthful core of every song, even if it's not necessarily one of her own. If nothing else, it's proof that she's a genuine musical storyteller who can embrace these personas and their experiences, however autobiographical they may or may not be.

These images, of course, stir themselves into that timeless yet important pop-music debate, especially in the current generation of Taylor-baiting and Miley-twerking. Is Del Rey actually reveling in dated female stereotypes, or is she making her music sound like a bygone era before putting her own ironic spin on the lyrics? Feminist critics have been quick to point out that her lyrics suggest too much dependence on men for affection and validation, even bordering on obsessive and/or possessive traits. However, sometimes the strongest thing that a woman (or any person in general) can do is be honest about their feelings. They're not always the feelings that we should or shouldn't have, and it's an act of bravery to set such deep thoughts to music. It's not a woman thing -- it's a human thing -- and Del Rey transcends mere gender politics to speak to each of us on a very primal, personal level.

To borrow a title from one of her new songs, "God Knows I Tried" is a fitting example of just how self-aware Del Rey can be about her life, her art, and her messages about both. She can rest assured that both God and listeners are taking notice, especially since she's probably one of the only contenders from the current crop of young artists to have a legitimate shot at an illustrious career. At the rate she's going, it won't be a question for much longer.

Finales End The Dog Days Of Summer TV

Not all TV shows are created equal. This is especially true of their season finales, which are important benchmarks to help sustain interest until they return with new episodes. The fall TV season will be ramping up over the next few weeks, but thankfully, we've had some quality summer programming to bide our time. Some shows are better than others about knowing how and when to split or end their seasons, as well as how to finish the run of their series for good. That said, I humbly submit my take on some of the summer's biggest shows and how they wrapped things up (with as few spoilers as possible!) Note: these rankings are on a scale of one to four jaw-drops, 1 being "meh..." and 4 being "WHAT?!"

Pretty Little Liars (ABC Family): Mid-season Finale, Aired 8/11
The Show: As previously reviewed, four teenage girls try to solve the mysteries surrounding the death of a close friend while being taunted by the sinister "A," the behind-the-scenes mastermind who knows all of their secrets.
The Season: It got dark fast during this half-season (the remaining episodes will air in the spring). The aftermath of barely being rescued from A's compound took its toll on the girls -- the show tastefully explored the psychological trauma of such a prolonged ordeal -- while significant clues were discovered about A's true identity. These 10 episodes were a concise and well-paced journey toward the answers we have been craving.
The Finale: Among other revelations, we FINALLY meet the real (not the "helper") A after five seasons (only two years in story-time), and it was a genuinely surprising doozy. Of course, there are loose ends to be tied up, but the last twist in the final minutes will leave you intrigued... and impatiently awaiting the next batch of episodes!

Jaw-Drop Factor: 4

Aquarius (NBC): Season Finale, Aired 8/22

The Show: It's 1967, and Detective Sam Hodiak (the always-watchable David Duchovny) is in for a rude awakening. What starts out as the simple case of a teenage runaway plants the destructive seeds of the notorious Charles Manson "family."
The Season: Numbingly slow. It tried to be a period piece with modern parallels (especially race relations and scrutiny of law enforcement) but failed on both counts. Make no mistake: this is not the "Mad Men" of police dramas. Gethin Anthony brings young Manson to disturbing yet alluring life, but the other subplots are utterly cliched and fall short of Anthony's thrall. Historical fiction at its worst.
The Finale: If more effort had been given to the storylines or supporting characters, the stakes would have been high enough to set the show toward a more solid course next season. Instead, it's too boring to care. My only real source of surprise (all due respect to Duchovny) is that this show was even renewed.
Jaw-Drop Factor: 1

Another Period (Comedy Central): Season Finale, Aired 8/25
The show: A satirical fusion of the "Downton Abbey" era and the shameful/less behavior of spoiled celebrity vixens, filmed like a reality show. The wealthy, fame-hungry Bellacourt sisters hatch various schemes to earn themselves power, status... and, most of all, attention.
The season: Its winningly wicked sense of humor, spot-on deconstruction of the reality genre, and parade of guest stars who are game to play along kept this new series afloat. While similar to Hulu's equally effective "Hotwives" parody, this series does it one better by lacing its soapy hijinks with razor-sharp observations about how much (and how little) has changed in "civilized" society.
The finale: Like any good melodrama, there were few surprises since characters' plans were hidden from each other but not the audience. Even that doesn't stop the Bellacourt family and their hired help from contorting the plot to ridiculous, blissfully exaggerated heights. The highlight, without question, is an amusing fight in a pool that hearkens back to the glory days of "Dynasty" and "Melrose Place."
Jaw-Drop Factor: 2

Hannibal (NBC): Series Finale, Aired 8/29
The show: Set before "The Silence Of The Lambs," this procedural thriller follows the events that lead to Hannibal Lecter's capture by the FBI. Criminal profiler Will Graham consults with Lecter to solve bizarre murders, which Lecter may or may not be committing.
The season: The final 13 episodes were given a much-needed air of class by elevating recurring guest-star Gillian Anderson to series regular. Unfortunately, the errant chronology of the plot (compared to the Thomas Harris novels) and the brazen, gratuitous violence made the overall effect less than palatable.
The finale: It gets kudos for sheer boldness. Graham makes a shocking decision regarding Lecter's fate as well as his own. Scoring the final moments with a haunting new ballad by '80s icon Siouxsie and leaving us with a macabre yet fittingly ironic closing image of Anderson were just icing on the cake.
Jaw-Drop Factor: 3.5

Scream (MTV): Season Finale, Aired 9/1
The show: As previously reviewed, a group of friends in a small town deals with suspicious classmates, family secrets, and a masked killer who holds the key to unlocking the town's dark past. (Very loosely) based on the film franchise.
The season: Most of my initial opinions still hold true; the series lovingly borrows the best elements from the movies and creates its own universe and storylines. However, weaker subplots have emerged that threaten the integrity and originality of the show. Thankfully, the 10-episode count kept the main mystery on target, delivering important plot points and character development much sooner than expected.
The finale: This hour was more by-the-numbers than previous episodes, but it all came down to a big reveal. For observant viewers, the killer's identity was easy to call, but the motive was clever even if its explanatory dialogue wasn't. It becomes obvious that the killer needed help, and the implied identity of that partner will make you want to re-watch from the beginning for proof either way.
Jaw-Drop Factor: 3

How Do You Solve A Problem Like "Matilda"?

I can't bring myself to sugarcoat it: Roald Dahl is rolling in his grave. "Matilda," a musical based on his beloved book with a touring production that recently played Denver's Buell Theater, has plenty of aspirations but falls short on nearly every count. The musical kicked off the Denver Center's Broadway attraction season, so fingers crossed that the remaining selections are all uphill from here.

In case you aren't familiar with the story, "Matilda" is a comedic fantasy that follows its titular character, a young girl with remarkable intelligence and growing mental powers. After identifying a kindred spirit in the sweetness of her teacher, Miss Honey, Matilda finds clever ways to contend with her mean-spirited family and the bullying headmistress, Agatha Trunchbull. All of this is told with a strength and self-reliance that's unusual for a book aimed at children (and one of my favorites growing up). Dahl protects Matilda from feeling sorry for herself and instead empowers her to stand up for herself and for others.

How could something directly inspired by Dahl's vivid, one-of-a-kind imagination possibly go so far off the rails? Easily: by trying to appeal to everyone, the musical ends up appealing to no one. The 1996 film version of "Matilda" (directed by Danny Devito, of all people) made changes to the book but still managed to capture the lively, snarky spirit of its pages. In its translation to the stage, the show loses all of the sophisticated charm that the book so lovingly grants its precocious heroine and her misadventures. The wildly uneven tone of the musical zigs and zags from forced, phony slapstick to needlessly bleak to syrupy sentiment and even to out-of-place bodily humor in such a breakneck, bipolar way from scene to scene that it's ultimately not suitable for children or adults. Which begs the question, "How did it legitimately earn THAT many Tony nominations?" Thirteen of them. 13! I'm hardly superstitious, but I'm reconsidering my stance on the ominous significance of that number...

My first of many disappointments with the show happened within seconds of the curtain rising. As with any show prominently featuring child actors (who don't have the benefit of years of stage training and vocal coaching that older peers do), two important distinctions need to be made. First, especially when accents are involved, diction is beyond critical -- it's a make-or-break situation. From the first lines of the show, I had considerable trouble discerning what the children were saying and singing, especially Matilda herself. Sure, all actors slip up and blur their pronunciations from time to time, but this literally happened throughout the entire show. This is problematic if for no other reason than these children are responsible for practically the whole plot. The second distinction that went unchecked was the vast difference between energetic, youthful exuberance and just being shrill. To make matters worse, the second problem only exacerbated the first, rendering the majority of the show unwatchable and unenjoyable.

The adult actors didn't fare much better. Many of them (notably Matilda's neglectful parents) were saddled with throwaway musical numbers that are flashy enough to show off their song-and-dance moves but do little to further the story or their characters. Yes, they're horrible people -- we get it! We don't need whole songs that revel in their cruelty and their vapidity. A further source of adult embarrassment was the ineptitude of the stage crew, who I would hope are seasoned professionals. In this modern age of theater and advanced illusory techniques, they were unable to seamlessly and convincingly deploy the special effect of Trunchbull swinging a child by her pigtails, only to have her land safely in the arms of her fellow students. For an allegedly Broadway-caliber production, it looked entirely too fake to find the act of her being thrown even mildly amusing.

There is the faintest of lights, however, at the end of this collapsed tunnel of a show. The music and lyrics were composed and written by Tim Minchin, a noted musical comedian with an international following. Minchin provides strikingly unique orchestrations and wordplay for the show, perfectly capturing Dahl's dual vision of whimsy and angst even when the show fails to do so. As much as I like Minchin and his work, though, they deserve a much better vehicle to be presented to the public. Thankfully, there are some solid lighting effects and set design, which admittedly do warrant the aforementioned award nominations and eventual wins in the technical categories. In fact, a single memorable sequence choreographed the interplay of music, lyrics, lights, and set for a rather dazzling result.

As Matilda reports for her first day of school, the older students warn her and the other incoming youngsters to be on their best behavior or else incur the wrath of Trunchbull. Near the end of this number -- aptly if blandly titled "School Song" -- the older students scale the main gate of the academy, staggering into the ironwork blocks of various sizes for each letter of the alphabet (a recurring motif in the set pieces). With rapid-fire precision, the blocks are simultaneously placed by students and illuminated by spotlights right as a corresponding lyric containing that letter is sung. The calculated timing of this scene is one of two elements of the show that truly must be seen to be believed.

Ironically, Trunchbull becomes the very linchpin that holds the show together... if you can get past giggling at the vocal intonations that land somewhere among Alan Rickman, Riff Raff from "Rocky Horror," and skit sensation Old Gregg. It's an assured and confident performance of a patently unlikeable character that manages to flesh out the character without compromising her lack of redeeming qualities. The fact that actor Bryce Ryness -- that's right, Trunchbull is played firmly tongue-in-cheek by a man -- relishes every disdainful glance, menacing stride, and verbal onslaught makes the joy of beholding such nastiness more lasting than you'd expect. As well as the role is played, it's severely symptomatic of larger issues with the show if the central villain that we're meant to despise is the only thing the audience can safely embrace.

If you need any further evidence as to how the production squandered its potential, think about this for a moment: the musical was developed with and originally staged by the prestigious, world-renowned Royal Shakespeare Company. How can a show with such a pedigreed background end up failing so miserably? Artistically, that is. Critically and commercially, the show has apparently been quite a success. Perhaps we'll never know what might have been if the producers had hewed closer to Dahl's version of the tale. Putting his name above the title almost seems misleading given the departures from his work. Fortunately, we can cherish the certainty locked within that old adage, rarely more true in recent memory than when considering "Matilda" as a musical: the book is always better.

"Mindy" Survives The Move To Hulu

When Fox announced earlier this year that it wasn't renewing "The Mindy Project" for a fourth season, my heart broke a little. Okay, a lot. I had been referred to the show in time to watch the third season as it aired, so I wasted no time by diving right into binge-watching all of the episodes up to that point. I became pretty invested in the show, which had quickly proven itself to be sharper and smarter than most current sitcoms. It's a labor of love for its creator/writer/star (the lovely and talented Mindy Kaling), who week after week delivered a refreshingly original series about the personal and professional observations and experiences of an Indian-American woman with an average figure. (Take that, skinny blonde Hollywood!) That alone would have been enough to hook me, but the quick wit, dynamic chemistry between the leads, and endearing supporting characters made for even more compelling viewing. The thought of not having that weekly fix was almost too much to bear.

Thankfully, Hulu (the very same medium that enabled my binge) saw fit to pick up the show. It made perfect sense, given that their platform already has the streaming rights to the first three seasons. In a move that keeps "Mindy" closer to its televised roots, Hulu will release the new episodes weekly, rather than unloading the entire season at once. At that point, I breathed a sigh of relief... until it dawned on me that not only would we have to wait for new episodes, but we would also have to contend with possible tweaks and adjustments to an already successful show on a new network. In case you were also counted among the potentially heartbroken fans, fear not. "The Mindy Project" has officially debuted on Hulu with essentially everything intact. I'm not crazy about the new logo art, though (see above). It's a little too cartoonish for my taste and for the tone of the show, but I'll have to be content with critiquing more substantial matters.

Time will tell, of course, if the show's quirky spirit will be maintained. If the season premiere is any indication, though, we have little if anything to worry about. Right away, the show looked and felt exactly as it always has. There were no telltale signs like downgrades in picture quality or set design that for other shows have indicated a shift in network and/or budget. Also present and accounted for are the trademark snappy banter, endlessly quotable dialogue, and tactful euphemisms that keep the show just edgy enough to earn its firmly TV-14 rating. (A character lamenting about "S-ing [his] own D for the rest of [his] L" is much funnier when abbreviated rather than said outright.) Even the catchy theme song, often truncated to mere seconds to help fit Fox's broadcast constraints of 20 to 22-minute episodes, was able to play in full. In fact, the premiere clocked in at 27 minutes, so if the episodes will be longer from now on, I certainly won't say no... if they spend the extra time wisely, that is.

Which brings me to my only point of contention with "Mindy" 2.0 (technically, 4.0). For a series that prides itself on clever timing, this particular episode veered dangerously close to the edge of predictability, something of which I didn't think it was capable. Naturally, a season opener has to resolve (or at least start to resolve) lingering story threads from where the show left off. However, this one tried a little too hard to do so with a wink, and the effort showed around the edges. Mindy as a character -- despite her best efforts to be a complex, independent, modern woman who can juggle the demands of her medical career and her social life -- is a pure romantic at heart with a soft-spot for old-fashioned romantic comedies. Her well-meaning but misguided notions often conflict with the chaotic world around her, and it's one of the many things that makes her so relatable.

When we last saw Mindy and her live-in boyfriend/soon-to-be babydaddy Danny (Chris Messina), they were trying to figure out where their relationship stood if he (who was previously married and subsequently hurt) didn't want to propose. Unbeknownst to Mindy, Danny travels to India to meet her parents and try to get some perspective. Meanwhile, Mindy is at home feeling alone, so she dreams about what her life would be like if she were involved with someone else. That someone is played by the first of three delightful surprise guest-stars in this episode, proving that the show (which has previously featured the likes of Stephen Colbert, Laverne Cox, James Franco, Rhea Perlman, Seth Rogen, Vanessa Williams, and even Shonda Rhimes) is still a destination for big-name talent who are eager to be used as comic relief.

Danny's meet-the-parents plot is obviously more grounded in reality, but it still rings hilariously true as we see that he is genuinely trying to do the right thing despite overwhelming circumstances. Sakina Jaffrey and Ajay Mehta, who play Mindy's mother and father respectively, have fantastic screen presence in roles that are far better left in their hands as legitimate actors rather than embracing the tendency to stunt-cast bigger "names." At the same time, it's refreshing to see a character's parents written and performed in a way that allows you to see their child as a delicate balance of both parents' traits, rather than just blandly copying or favoring one or the other.

In the end, the episode does rely a little too heavily on Mindy's dream scenario, but on the other hand, that concept plays right into her idealized, fairy-tale optimism, so it's not like the premise came out of nowhere. The culmination of both Mindy's and Danny's soul-searching does generate a really sweet moment between the two, but it seemed to resolve their issues a little too quickly and neatly for what "Mindy" as a show is used to doing. Then again, opening the door to this next chapter of their lives as individuals and as a couple is still ripe with storytelling possibilities, so I'm going to trust the path that is being followed until they give me a reason not to (which hopefully will be never!)

And speaking of reasons, surely a few of the show's newfound extra minutes could have been spared for the rest of the show's terrific ensemble. Despite brief scenes with the always-good-for-a-laugh nurse Morgan (Ike Barinholtz), the other main players were MIA. Now that Mindy and Danny are back on track, I hope that this isn't a sign of things to come and that we'll see everyone else again as soon as episode two. More than anything, I'm just glad to see "The Mindy Project" is back. They've got their work cut out to guarantee an audience and a future on their new TV home, but it's still a pivotal reminder to the industry. Quality shows sometimes need a second chance, regardless of what form they take on the small screen.

Dave Matthews Band: My Musical Time Machine

The only thing more refreshing than a pleasant, late-summer night in an outdoor venue when you're listening to one of your favorite bands play is when you can also hear the voices of thousands of fellow fans singing along.

This unique musical kinship is increasingly rare in today's pop-driven music machine, but last Saturday, it was alive and well in the second show of Dave Matthews Band's two-night stand at Fiddler's Green Amphitheater. The band provided countless reminders of why they're still relevant: nostalgia for the simpler days of youth, memories of previous times seeing them in concert, and perhaps most importantly, evidence of a band still in its prime by refusing to play the same show twice.

Few artists or bands have captivated me over the years in the same way that Dave has... that's right: we're on a first name basis! In the nearly 20 years that I've been listening to them (starting waaayyy back in junior high, thanks to my cousins), each new album has been closely correlated to my personal experiences at the time and become a living soundtrack of sorts. My copies of their first two albums, "Under The Table And Dreaming" (1994) and "Crash" (1996), were practically worn out by the time I hit high school in 1997. 1998's "Before These Crowded Streets" was released the summer between freshman and sophomore year -- a particularly tumultuous time since I was switching schools. 2001's "Everyday" underscored the final months -- both exciting and intimidating -- of my senior year. Through it all, the precision and inspiration of their lyrics and the energy of their music gave me a reliable constant on my stereo even as I grew up and the world around me changed.

This appreciation of Dave and the gang continued well after graduation and beyond. 2002's "Busted Stuff" had a more serious edge that matched the angst of my early college days, while the smaller-scale intimacy of 2003's "Some Devil" (a solo project from Dave) featured prominently as I grappled with issues both personal and academic. After taking a year off from school, 2005's "Stand Up" was released as I prepared to go back for my senior year. Even their more recent efforts, 2009's "Big Whiskey and the GrooGrux King" and 2012's "Away From The World," felt like they came to me at just the right times of change and opportunity. It's been said that scent is the strongest of the five senses in how it's tied to memory, but every so often, good music will come along that makes hearing a pretty strong trigger in its own right. Certain songs can take you back to an exact moment or association that you have with them, and -- at least for me -- Dave's music has consistently had that effect.

With all of this affection, I still can't believe that it's been so long since I've seen them perform! It all comes down to timing, I guess. My two previous Dave concerts were during back-to-back summers: visiting family in Philadelphia in 2000 and taking a miniature road trip to Boulder (I was living in Colorado Springs) in 2001. The Boulder show at the University of Colorado's Folsom Field was even recorded for a live album and concert film. My cheers are undoubtedly a needle in the haystack of sounds on the audio version, but I just HAVE to be on that DVD somewhere, right?! (Believe me, I've looked. The camera went by my section repeatedly. If anyone can actually spot me, I would be eternally grateful!)

Back in the present, Dave took the stage to thunderous cheers and applause, replying with a simple, soft-spoken "Hello. Happy middle of the weekend" before diving right into the music. The first several songs were primarily acoustic, and he was joined by his frequent collaborator Tim Reynolds on guitar. They also welcomed special guest Bela Fleck, renowned banjo and mandolin player, by joking that they would try to make room for him on the already crowded stage. After the acoustic warm-up, they gradually transitioned to their full electric sound, spanning a decent swath of their ample discography.

The selections were very diverse, but they tended to favor the band's first few albums by including several songs from each; unless I counted wrong, they didn't do anything from the two most recent albums. I normally don't cheat like this, but I looked up their set lists online from the three shows prior to mine (especially the first Denver show the night before). As luck would have it, I missed a few songs that I would have loved to hear. Then again, with 10 albums' worth of material -- their self-released indie debut plus eight studio albums as a band and Dave's solo album in the middle, not to mention a handful of cover songs and concert-only favorites -- it's always a gamble unless a tour is literally the same show every night. And who wants that?

Certainly not Dave Matthews Band. They have maintained the quality of their musicianship and the harmony of their collaborations. Despite replacing their saxophonist after the 2008 death of longtime sax player LeRoi Moore, the blend of their collective sound is as tight as ever. No one would be any the wiser if this shift weren't pointed out to them. DMB also spends large chunks of time on the road between albums. Given this reputation as a touring band, they like to play unique arrangements of songs and instrumental jam segments in a genuine effort to mix things up and keep the music fresh. Songs being played differently makes the element of surprise that much greater when you finally realize what they're doing, especially if it's a classic, and this show was no exception.

"Stay Or Leave," a sparse, haunting ballad (and personal favorite) from Dave's solo album, was elegantly fleshed out when played by the full band. Their iconic hit "Ants Marching" got some special treatment in the form of Dave singing scat over the introduction as well as violinist Boyd Tinsley putting his instrument through the paces to send off the song with new flourishes (and thankfully, no broken strings). The jazzy, sultry "Crush," already eight-plus minutes as recorded, was given an appropriately lively jam finale. The band also flowed nicely from "So Much To Say" into "Too Much," older Dave songs from the same album with just enough in common to be bridged together in a subtle yet effective way. I didn't realize it was happening until I found myself singing the lyrics of the latter.

Unlike other jam bands (ahem, Phish), Dave songs always have a beginning, middle, and end, whereas Phish songs feel like nothing but middle! Only during one song, "The Dreaming Tree," did the jams start to feel excessively Phish-like. There wasn't enough modulation or exploration in the music to warrant such an extension, and the song ended up clocking in at nearly 15 minutes. That's easily worth the longer versions of at least two other songs, but oh well. In the end, I can't really complain; Dave and the band more than sang for their supper, playing over two-and-a-half hours of music that was all solidly performed even when it got lengthy.

There was only one thing I would have liked to see more of: interaction with the crowd. Though his words are relatively few, Dave always seems pleasant and thanks the audience a lot, so at least he has good manners. When announcing that the band would return after a short break (something I don't recall happening in the past), Dave tripped over his words a little. "I can talk like this on stage because I'm a professional," he said, before adding, "Smooth..."

He also earned bonus points for the improvised jigs that he danced during those jams when the rest of the band is rocking out and he's standing by. While these moments were definitely memorable, the funniest situations of the night didn't involve the stage at all, but rather the drunk/high/both fans who were displaying their enthusiasm in various, increasingly awkward ways. I want to make SO many jokes at their expense (I do have a few really good ones), but it's just their way of expressing the same things that I feel about DMB and what they have meant to me.

When it comes to Dave, his band, and his music, looking back also means looking ahead. While there is no word yet about when a new album might arrive (not entirely surprising since Dave and company are known to take their time between recording sessions), I can't help but wonder where I'll be and what I'll be up to in my life. With plans on the horizon like grad school and a possible new career path, I could have a lot on my plate by the time those songs come to light. Until then, I'll patiently wait for the next chance to have another memory that links me to this deeply personal musical legacy.

This "Summer" Is Worth Savoring

The summer may be winding down, but on Netflix, it's just getting started. That's right, fellow campers: "Wet Hot American Summer" has returned. The beloved 2001 indie film, which featured a sprawling comedic cast playing some of the most irresponsible and self-absorbed counselors in history, was set on the last day of camp in 1981. Rather than producing a traditional sequel, creators Michael Showalter and David Wain have opted to bring us an eight-episode prequel series. Given that so much time has passed since the original, "First Day Of Camp" is a bold experiment, but it more than pays off for fans of the movie and for newcomers to the story and its wacky assortment of characters.

Despite never finding critical or commercial success upon its initial release, "Summer" as a movie managed to succeed in other vital ways, attracting a loyal cult following over the years. The obvious, surface-level enjoyment comes from its thoroughly detailed parody of the '80s all-star sex comedy, right down to the wardrobe, hairstyles, and music cues. Much of the humor, both verbal and situational, is derived from the fact that most of these actors are entirely too old to play teenage counselors. By adding the awkward, almost cringe-worthy moments that would make attending (or working at) a summer camp so uncomfortably real, you have a recipe for something that's brutally honest and painfully funny.

Those ingredients were flavored by a well-formed cast that was assembled at the perfect time, making exemplary use of established stars as well as actors that were on the rise and poised for future success. Janeane Garofalo, mainly known for her acerbic supporting roles, led the cast as the camp director. Christopher Meloni, who starred in the gritty TV dramas "Oz" and "Law & Order: SVU," showed his silly side as the unstable cook. David Hyde Pierce, most recognizable as uptight Niles on the sitcom "Frasier," brought his fussy charm to the role of a depressed neighbor. Last but certainly not least, "Saturday Night Live" scene-stealer Molly Shannon offered an unusually reserved performance as the seriously unlucky-in-love arts and crafts counselor. Among the other counselors were soon-to-be-famous names like Elizabeth Banks, Bradley Cooper, Amy Poehler, and Paul Rudd, all of whom had amassed smaller credits but would go on to higher-profile projects in the years that followed.

As a series, "Summer" has more time to spend with these characters as well as more ways to fill that time. Every single main character from the movie is back (some for only an episode or two, but it still counts). There's also a whole slew of new characters played by current comedy go-to's -- yes, Kristen Wiig should just be in everything -- plus celebrity cameos that are too funny to spoil how they factor into the plot. These additions practically double the size of the cast without ever feeling overcrowded. That in itself is a special achievement, considering that many current series with large ensembles (I'm looking at you, "Grey's Anatomy") feel bloated and scattered with disproportionate focus. The succinct episode count (eight half-hour installments) also keeps the story sharper and moving forward, especially when compared to a standard network comedy season of anywhere from 12 to 24 episodes.

This time around (roughly two months prior to when we last saw them in the story's chronology), the counselors at Camp Firewood have their hands pretty full. Even on the first day with every resource at their disposal, they're certainly no better equipped to handle things. On top of new hires, blossoming and fading relationships, a staff musical, an inter-camp rivalry, at least one wedding ceremony, and something suspicious happening in the woods, the fact that campers are settling in means they're just getting in the way. "Summer" amusingly inverts the camp/coming-of-age trope to say that it's the (alleged) authority figures who need to think and/or grow up. Though the inclusion of the kids is minimal, they are ultimately the surprisingly well-adjusted voices of reason for their temporary guardians.

This sentiment was carried over perfectly intact from the movie, and thankfully, so were its strengths and its sense of humor. Though "Summer" is patently a spoof, the actors deadpan the material with a straight face -- rather than go wildly over-the-top -- to keep the dry, quirky spirit afloat. Overall, the show's attention to detail is what impressed me; they are eager to revisit (rather than ignore) even the smallest of things to explain how they ended up the way they did by the end of that summer. Two words: vegetable can... fans of the movie will get it! There's also a spectacularly clever introduction (I won't say who, but you'll definitely know when it happens) to a character with very little to do in the original that ends up becoming one of the series' most spot-on and hilarious scenes. Further merit, without giving anything away, can be found in the development of Banks' character, Lindsay. Right from the start, we see her as a motivated, three-dimensional person instead of the bimbo that the movie tried to make her. The show not only completes her individual arc but also proves that it's never too late to fix something (in this case, stereotypical character traits) that would have weakened the finished product.

Meanwhile, the film's setting was relatively confined to the camp, save for a brief, mid-day jaunt into town for "supplies," but the series thinks bigger. The idea of broadening the scope so that some of the main action takes place away from the camp threatened to pull focus, but the actors and their impeccable timing knowingly poke fun at the absurdity of the single-day concept while managing to keep even the most ludicrous plot developments grounded. Well, mostly. President Reagan, is that you? Even an actor as talented as Showalter couldn't quite pull off that imitation. But don't let that stop you from embracing the show, especially if you're already a fan! I would humbly advise you to watch (or re-watch) the movie first... just to respect the order and to keep certain moments fresh for later (technically, earlier) exploration.

If the movie and the series just aren't wet or hot enough, Showalter and Wain have given us even more reason to spend time with the Camp Firewood gang. To coincide with the release of the show, a behind-the-scenes documentary about the original film is also available on Netflix. "Hurricane Of Fun" is about an hour long (whittled down from the 25 hours that were shot), and it unveils never-before-seen footage of the cast and crew as they made the movie. Sure, we get the standard on-camera interviews and candid, off-camera antics, but we also get sweet moments like the cast reflecting on the experience with no idea what fame has in store for them. To think that there was a time when Poehler was still on the verge of her big "SNL" break and Cooper was fresh out of acting school! Not to mention that we see the entire cast and crew eat, sleep, and breathe nothing but camp (a real-life retreat was used as the filming location).

At the time of this posting, there are no immediate plans to continue the "Wet Hot" franchise. True, future seasons could fill in the gaps between the end of the first day and the beginning of the last, but is that really necessary? (One delightful throwaway line jokes that by the end of the summer, everyone will look 15 years younger). Sometimes, even with all the dots seemingly connected, not knowing how every little detail transpired makes the wild scenarios that we imagine even funnier than what could ever be committed to film. At the same time, another movie (likely direct-to-Netflix) could show us these dysfunctional counselors' lives and careers in the future, which is suggested in the original by a memorable chunk of dialogue and a brief post-credits scene.

Either option runs the risk of taking away what makes this property so special: a spontaneous, under-the-radar sense of discovery and joy. Besides -- much like the revival of "Arrested Development" that took seven years between seasons -- when will a cast that's this busy and in-demand be able to assemble again in its entirety? When it comes to this kind of "Summer," it has to be all or nothing. Thankfully, the creators and the cast know how (and when) to give that all.

Give Us This Day Our "Daily" Stewart

Well, folks: it's the end of an era. Jon Stewart has left the building after 16 years as the host of Comedy Central's "The Daily Show." On paper, the basic concept and execution of the program is pretty straightforward, but who knew how influential and groundbreaking it would be over the years? Stewart and "Daily" have become practically synonymous; the success of the show and (I dare say) the legitimization of Comedy Central as a prestigious network owe an incredible debt to Stewart and his incisive blend of smarts and snarks.

When "The Daily Show" first premiered in 1996 with Craig Kilborn at the helm, it offered a more pop culture-based skewering of entertainment-related news. Kilborn's departure in 1998 opened the door not only for a new host but also for a new format centered around the circus of politics. By the time Stewart took over the desk in 1999, he was hardly a household name. Sure, he had an easy-going, charming delivery style and he was quite easy on the eyes (he still succeeds at both), yet his potential for greater things was increasingly apparent. The comedian only had a few Comedy Central and MTV hosting gigs as well as smaller film and television roles to his credit, so "Daily" was arguably the first platform where Stewart and his knack for artfully exasperated observations were truly front-and-center.

At this point, Comedy Central was busy grabbing headlines and critical acclaim thanks to "South Park," the irreverent cultural satire disguised as a cartoon, so it was only a matter of time before something else would come along to help distinguish the network among its peers and competitors. To many fans and critics, the turning point that began to define the impact and eventual legacy of "The Daily Show" was "Indecision 2000," a recurring segment that pointedly satirized the myriad of problems surrounding that year's presidential election. This coverage earned "Daily" its first Peabody Award (its second was for the next round of "Indecision" in 2004), and the show was on its way to 18 Emmy wins over the next decade. Not too shabby for a show that, on several occasions, featured a segment (however hilarious) with the word "clusterf*ck" in its name!

In addition to Stewart's no-holds-barred critiques of current events and public figures, "The Daily Show" made exemplary use of its correspondents when stories called for travel and/or interviews. Many of these relative newcomers were able to parlay their early promise into future stardom. "Daily" was a launching pad for the current career booms of Steve Carell, Stephen Colbert, and John Oliver, while other key players such as Rob Corddry and Rob Riggle have found steady work in other comedic avenues. When all is said and done, though, it's Stewart's name that appears below the title. The passion and energy with which he dove into every topic -- no matter how big or small -- kept the show timely and relevant, even when the news cycle ran low on political material.

Even more impressive is the growing reputation that "Daily," still in its prime with no signs of stopping, carries within the TV news industry. Viewers may tune in for laughs, but they're also being challenged to really think about the issues at stake. Traditional news outlets tend to go for either a just-the-facts approach or an extreme, party-line slant. "Daily" is one of the few news sources that, despite its liberal leanings, manages to juggle the spectrum and paints a complete picture of the political landscape, even when the results are less than flattering on either side. Furthermore, the show encourages people to make informed, thoughtful decisions about how they absorb information from elected officials and the media. It also helps that many of the show's easier targets essentially set themselves up for lampooning; the "Daily" writers barely have to stretch the truth to drive home the majority of their jokes.

Considering its network, "The Daily Show" always was and always will be considered first and foremost a comedy series. However, its honest and intelligent commentary on not only the political arena but also the agendas of various media outlets makes "Daily" a rare breed: the human side of the news with full use of its brain, heart, and smile. True, the show will live on under the guidance of new host Trevor Noah, but it wouldn't have gotten nearly this far without Stewart and his team of writers and correspondents being willing to "go there" and absolutely nail what no one else was saying.

One of Stewart's many hallmarks was ending each broadcast with a "moment of Zen," a clip, quote, or otherwise memorable moment that was meant to be a parting thought as well as a reminder of life's little quirks, for better or for worse. While I wasn't a daily viewer of every single episode of "The Daily Show," the countless times when I did watch were always reliably entertaining and thought-provoking experiences. And of course, I'll continue to watch. But as strong as it is on its own merits, hopefully Noah and the producers won't try to artificially force the wholly irreplaceable dynamic that Stewart brought to the screen and to the stories. My personal moment of Zen will be unabashedly supporting whatever he decides to tackle next.

To Diva Or Not To Diva?

A lot has happened to Idina Menzel since the last time I saw her in concert. In 2011, she was still mostly known only among Broadway fans for a big ol' voice that augmented her starring roles in "Rent" with a Tony nomination and in "Wicked" with a Tony win. Word was getting around, however, that she could do more than just sing her head off. Menzel was previously featured in the Disney comedy "Enchanted," and when I saw her last show, she had just completed several guest appearances on the hit Fox series "Glee."

Now, four years later -- at the same venue, no less -- Menzel takes the stage as a bona fide, mainstream superstar. So what changed? It's thanks in large part to the monumental, global success of 2013's "Frozen" (an animated movie that you've undoubtedly heard about if you've spent any time around children recently). By voicing Queen Elsa and performing the film's award-winning anthem "Let It Go," Menzel is officially on the map and has become a hero to even more millions of fans worldwide. If that didn't make her a household name, the whole John Travolta thing probably did; thankfully, she had a sense of humor about it.

This humor serves Menzel well and makes her very accessible. She's the people's diva, if you will, unlike the standoffish behaviors of the old-guard grande dames like Streisand and LuPone. From the start of Tuesday night's concert at Red Rocks -- the latest stop on her world (yes, world) tour -- she possessed a genuinely appealing stage presence. After opening with the show-stopping "Defying Gravity" from "Wicked" (hard to sing at any point, let alone right at the beginning), she joked about her inability to sing as well at a higher altitude. Menzel described herself as too competitive to let something like altitude keep her down, so she would hold the notes for even longer if she had to. Though she did sound a bit winded during her first few numbers, she powered through and achieved her usual resonance as the night went on.

Her banter with the crowd kicked into high gear after admitting she likes saying she's from Denver, despite never living here, because she has a lot of family in the area ("more specifically Boulder... most specifically, Louisville"). Quirky moments like being surprised to see herself on the video monitor and having to move her own chair up and down the stage would seem awkward or even desperate from other entertainers, but Menzel pulled them off with self-deprecating flair.

Part of me was worried that this show would be a replica of the aforementioned 2011 Red Rocks concert, where she was backed by the Colorado Symphony Orchestra and guest-conducted by legendary composer Marvin Hamlisch. As great as that show was, this one would need to be different enough to indicate her ongoing growth as an artist. While there was some carryover in the selections (mainly the Broadway standards and her "Wicked" repertoire), this performance felt almost entirely new in light of her rapport with the audience and her endearingly unfiltered personality. She even let her hair down and swore very briefly -- advising small children in sparkly blue dresses (a.k.a. "Frozen"/Disney fans) to cover their ears occasionally -- but the mild profanity made her seem more down-to-earth and more legitimate as a live performer.

In addition to her Broadway pedigree, Menzel's set list offered up several surprises. A few of her original songs found their way into the show (from her solo albums "Still I Can't Be Still" and "I Stand"), and it was good to see another side of the multi-faceted singer. During her famous "Rent" duet, "Take Me Or Leave Me," she borrowed various members of the audience to fill the second voice, making the evening both interactive and unpredictable.

Perhaps most impressive were her unique choices for popular songs to cover. Although Menzel is known for a voice that could quite literally bring down the house, she demonstrated lovely restraint and lush vocal runs during her version of Joni Mitchell's "River." After telling a witty story about an upcoming medley's inception during her vocal interpretation class in college, she breathed new life into the classic Cole Porter tune "Love For Sale" by mixing it with The Police's "Roxanne." While this particular mash-up was in fact part of her 2011 set list, the added origin story and the motivation behind it made this rendition more engaging.

The true highlight of the show was an unplanned moment that allowed Menzel to shine both musically and personally. During her grand, stunning cover of Radiohead's "Creep" (complete with the original F-bombs), she was kneeling dramatically on the stage and hitting the big notes of the song's bridge when the wind blew right up her dress. While nothing delicate was actually seen beyond her upper thighs, a visibly flustered Menzel made several jokes at her own expense, assuring the crowd that she was indeed wearing underwear and laughing about her forthcoming infamy on YouTube. Undeterred, she and her band took the song back a few measures and finished it perfectly like nothing had happened. Her ability to laugh at herself is one of many winning attributes that sets her apart from the perfectionist demands of the industry, and she is a better entertainer because of it.

Near the end of the show (before closing with the earworm of "Let It Go," of course), Menzel took a few minutes to give a touching tribute to the late Jonathan Larson, the creator of "Rent." She thanked him for giving her a chance and ultimately giving her a career, and it was nice to see someone who has accomplished so much still be in touch with their roots and give credit where it's due. Menzel may be the people's diva, but she's still just a person as human as the rest of us.

In case you were worried that I hadn't gotten my fill of Menzel (which I probably never will), Denver theatergoers will be able to see her perform the lead role in "If/Then," a musical that was written with her in mind, when it launches its national tour here this fall. As a Denver Center subscriber, I was already thrilled that such a new production was part of the regular season package, but that thrill quickly turned ecstatic when it was later announced that she had been booked for those performances. You can expect to hear a lot more about Menzel and "If/Then" when she rolls through town again in October. And for the record: yes, Operation Meet Idina is already in motion!